The struggle of the self to remain intact has moved in her work from civil war, into the family, into the couple, into the individual, and finally into the theatre of phychosis: the mind itself. This play was written in 1999 shortly before the playwright took her own life at age 28. On the page, the piece looks like a poem. No characters are named, and even their number is unspecified. It could be a journey through one person's mind, or an interview between a doctor and his patient.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    Novels Tarzan of the Apes The Return of Tarzan The Beasts of Tarzan The Son of Tarzan Tarzan and the Jewels of Opar Tarzan the Terrible Collections Jungle Tales of Tarzan Tarzan the Untamed

    It is the source of Sartre's especially famous and often misinterpreted quotation "L'enfer, c'est les autres" or "Hell is other people", a reference to Sartre's ideas about the Look and the perpetual ontological struggle of being caused to see oneself as an object in the world of another consciousness.

    It's considered one of the most important works of late medieval German literature. The poem's 34 short chapters are a dialog between a plowman, whose beloved wife has recently died, & Death. In odd-numbered chapters the grieving plowman accuses Death for his loss. In even-numbered chapters Death responds to the plowman's emotions with cold cynical logic. In the penultimate chapter God appears & adjudicates the dispute, reminding the plowman that he owes his life to God & reminding Death that he owes his powers to God. The final chapter is a prayer by the plowman for the soul of his wife. Sixteen manuscripts & 17 early printed editions of the work are preserved. The present manuscript was created around 1470 in the workshop of Ludwig Hennflin in Stuttgart. It is presently held by Heidelberg University Library.

    In it he captures the Isherwood-like atmosphere of Nazi Germany while telling a satiric story about the rise to power of one man - a thinly veiled caricature of his own brother-in-law. The man is Hendrik Hofgen, a character actor who in his own life plays a bizarre part in the elite circle of the Third Reich. Hofgen is publicly a revolutionary, but secretly he is a man driven by an obsessive need for power and fame. Although he benefits from the prestige of being married to the daughter of an eminent politician, he endangers his rise in Nazi society by his compulsive involvement with ‘a black Venus.’ His brilliant success as Mephisto in FAUST brings him the support of the Führer’s prime minister, who appoints him head of the State Theater. His dreams are finally realized, but the story ends on a note of despair as Hofgen is forced to confront the emptiness of his life. Mann weaves his tale with amazing skill. The result is a fascinating novel of decadence and evil.Klaus Mann, the second child of Thomas Mann, was born in Munich in 1906. He began writing short stories and articles in 1924, and within a year was a theatrical critic for a Berlin newspaper. In 1925 both a volume of short stories and his first novel, THE PIOUS DANCE, were published. His sister, Erika, to whom he was very close, was in the cast of his first play, ANJA AND ESTHER. Mann left Germany in 1933 and lived in Amsterdam until 1936, during which time he became a Czechoslovakian citizen, having been deprived of his German citizenship by the Nazis. He moved to America in 1936, living in Princeton, New Jersey, and New York City. He became a U.S. citizen in 1943. He died at the age of forty-two in Cannes, France. Robin Smyth was a European correspondent for the London Observer.

    Includes the major works of the Brontë sisters as well as the lesser known ones. Also includes the beautiful poetry collection by the Brontë sisters as well as poems and two sermons by their father Patrick Brontë. Included is an in-depth biography which give a glimpse into the life of Charlotte and her sisters. The format of this e-book is designed to be easily navigational in three ways; you can navigate by a simple click from chapter to chapter or from book to book. There is also a table of contents per book and one global table of contents.This e-book features:• Jane Eyre - by Charlotte Brontë• The Professor - by Charlotte Brontë• Villette - by Charlotte Brontë• Albion and Marina - by Charlotte Brontë • Stancliffe’s Hotel - by Charlotte Brontë • Mina Laury - by Charlotte Brontë • The Story of Willie Ellin - by Charlotte Brontë • Shirley - by Charlotte Brontë • Emma - by Charlotte Brontë (her last unfinished novel)• Wuthering Heights - by Emily Brontë • Agnes Grey - by Anne Brontë • The Tenant of Wildfell Hall - by Anne Brontë • Cottage Poems by Patrick Brontë • Poems by Currer Bell, Acton Bell and Ellis Bell (collection written under their pen names)• Charlotte Brontë and Her Circle by Clement Shorter (biography featuring correspondence by Charlotte Brontë )

    Students can access the ebook from their computer, tablet, or smartphone via the registration code included in the print volume at no additional charge. As one instructor summed it up, It s a long overdue step forward in the way Shakespeare is taught. "

    At first, Friedrich seemed to be the more fortunate, but when Hitler came to power, things began to change. Friedrich was expelled from school and became an orphan when his mother died and his father was arrested and deported.This is a terrifying story of the destruction of a single Jewish family.

    An entirely new introduction sets the tragedy in the context of pre-Civil War England and gives a revealing view of its imagery and dramatic action.From its well-documented early performances to the two productions seen in the West End of London in the 1995-96 season, a stage history gives an account of the play in performance. Students, actors, directors and theatre-goers will all find here a reappraisal of Webster's artistry in the greatest age of English theatre, which highlights why it has lived on stage with renewed force in the last decades of the twentieth century.